Mustafa Vâzıh's nazm built on images from calligraphy: blood dripping from the pen of the eyebrow, teeth like the teeth of the letter sīn and wine in the tavern harem.
Mustafa Vâzıh's incomplete ghazal opening with an invitation to spring and wine: griefs blown away, the arrow of calamity accepted and a head held high on a spear.
Mustafa Vâzıh's three-couplet nazm: a heart seeking refuge in God from brow and glance, a moon burning for the sun of beauty and griefs that never leave the dead lover.
Mustafa Vâzıh's nazm opening in everyday speech: an ugly Sufi brought to the beloved, the camel saying, a glance like a lancet and a spot in the nūn like Jonah.
Mustafa Vâzıh's incomplete ghazal on the flooding of Amasya's rivers: waters surging like a lover's eye, a foaming river and bubbles that look like coins.
Mustafa Vâzıh's incomplete ghazal on the Christian-boy motif: a beauty who corrupts the people's faith, a drawn dagger and wine from a lip that leads to the faith of Jesus.
Mustafa Vâzıh's incomplete ghazal with the refrain "turned its face": a beloved unveiled to strangers, dogs denied the lover's bones and a roof the sun never lights.
Mustafa Vâzıh's incomplete ghazal on a young reciter of the Qur'an: the story of Joseph, the water of life from his lips and a face drawn with the names of suras.
Mustafa Vâzıh's playful single couplet that turns the beloved's hair-thin waist into a madrasa problem and solves it by "splitting a hair forty ways".
Mustafa Vâzıh's single couplet joking about his poverty: his leaking old house is "of heavenly rank", and so it drips drop by drop like the sky itself.
Mustafa Vâzıh's moral couplet holding a servant's mountainous faults lighter than a master's reproach for favours done, matched by an Arabic couplet.
The only Arabic single couplet in Mustafa Vâzıh's Dîvânçe: a maxim ranking even a gravely accused servant above one who reproaches with his favours.
Mustafa Vâzıh's tahmis of Bâkî's ghazal with the refrain "da güzel": a playful manner after Nedîm, with scenes of a tavern boy, a bath and a gathering.
Mustafa Vâzıh's tahmis of a ghazal by Mikdâd Paşazâde Hasan Bey, deputy governor of Amasya: a stature like a lengthening sign and eyelashes like Alexander's wall.
Mustafa Vâzıh's five-stanza musammat inviting a coy young beloved on a caique outing to Beşiktaş, Kandilli and Bebek, with a nod to the poet Nedîm.
Mustafa Vâzıh's musammat with the refrain "Gel e şāhım idelim ‘azm-i Süleymāniyye": vanished empires, Vefa, a market, the nargile and Süleyman's tomb.
Mustafa Vâzıh's musammat with the refrain "Şimdi küskünlügümüz var felege sulṭānım": the king of a nameless land, solitude and a quarrel with fate.
The 1177 couplet "my dear son" that Kara Müftî İsmâil Hâtif Efendi wrote for the birth of his son Mustafa Vâzıh, preserved in Vâzıh's own Dîvânçe.
Mustafa Vâzıh's one-couplet chronogram of 1223 (1808-09) for a fountain: the idiom "learn it like water" and the fountain's name, "‘Uyūnü'r-rıżvān".
Mustafa Vâzıh's single-couplet chronogram for a charitable work of 1223 (1808-09), in which the phrase "āyā ḫayrāt" adds up exactly to 1223 in ebced.
Mustafa Vâzıh's chronogram for the 1211 (1796-97) repair of the Kocacık Mosque in Amasya, playing on "old Vâzıh" and the "little old" mosque made young.
Mustafa Vâzıh's chronogram of 1215 (1800-01) for the vizierate of his patron Tayyâr Mahmûd Paşa of Canik: a hunting falcon, the Hümâ and a pasha named "flier".
Mustafa Vâzıh's chronogram for water brought by Yegenzâde in 1208 (1793-94): a couplet for a charitable water work recalling Husayn and Karbala.
Mustafa Vâzıh's chronogram of 1237 for his son Seyyid Muhammed Ni'metullah, born when the poet was sixty: news brought at the Friday prayer and a father's prayer.
Mazhar Efendi's two-couplet Persian congratulation on the birth of Vâzıh's son Seyyid Muhammed Ni'metullah in 1237, ending in an Arabic chronogram line.
Mazhar Efendi's single-couplet Turkish chronogram for the birth of Vâzıh's son Muhammed Ni'metullah in 1237, which sets the child's name in the date line.
Mazhar Efendi's two-couplet chronogram for the birth of Vâzıh's younger son Seyyid Ahmed Tayyib in 1240, whose date line adds up exactly to 1240.
Mustafa Vâzıh's two-couplet chronogram for his younger son Seyyid Ahmed Tayyib, born in 1240 (1824-25) and lost at the age of three or four.
Mustafa Vâzıh's 21-couplet chronogram of 1209 for the birth of Mîr Abdüsselâm, son of Amasya's governor Seyyid Süleyman Rif'at, in which the sun is born a baby.
Mustafa Vâzıh's three-couplet death chronogram for the poet and stylist Sarı Nâibzâde Mustafa, who died in 1206, playing his "yellow" name against death's pallor.
Mustafa Vâzıh's two-couplet chronogram for Nûh Bey, born in 1210, likening the world to Noah's ark and adding three to the count through the word "üçler".
Mustafa Vâzıh's three-couplet chronogram for Seyyid İskender Bey, born in 1214, built on Alexander the Great, his teacher Aristotle and his companion Khidr.
Mustafa Vâzıh's single-couplet chronogram for a child born on the Night of Power in 1238, describing the birth as "the light of Muhammad" descending into a house.
Mustafa Vâzıh's four-couplet Arabic chronogram for Muhammed Ali, born in 1240, hiding his pen name in "tārīḫu Vāżıḥ" and the child's name in a blessing.
Mustafa Vâzıh's single-couplet Turkish chronogram for Muhammed Ali, born in 1240, in which the phrase "çü ṭoġdı Muḥammed ‘Alī" adds up exactly to 1240.
Mustafa Vâzıh's three-couplet chronogram for the wedding of Hacı Ahmed Bey, son of Hacı Ali Paşa, in 1239, likening the bride to the moon split by the Prophet's miracle.
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